Phonographianna 1:3

—

OPINION POIIS

■ BIOGRAPHIES

SOUNDING

BOARD

$ ZOO

PER YEAR

MAV-JUNE 1956

Ho/F 0>

A TOTI TAL MONTE DISCOGRAPHY

*by H. Fix

Acouatio - 10 Inch Victor
1106 Uagari/A Roaina.

AgWtl? - 18 U&teL (H.M.V number a are »t*rre*)

6466 Lucia di Lammermoor (Mad Scene) 2 parts (Donizetti) DB 713
6487 Carnevale di Venizia - 2 parts (Benedict/ *DB 831
6495 Barbiere di Siviglia (Un voce pooo fa) (Rossini)/

Rigoletto (Caro nome) *DB 830
♦DB 831 Guglielmo Tell (Selva opaca) (Rossini)/

Nozze di Figaro (Deh vieni, non tardar) (Mozart)

Electric - 10 inch Victor (H.M.V. numbers are starred?)

1303 Le Lucciole (Brogi)/Vidalita (Williams) *DA 863

♦DA 1351 La Sonnambula (Prendi l'anel il dono)with Schipai Bellini)/

Don Pasquale (Tornami a dir che m 1 ami) (Donizetti)

♦DA 5350 Amuri,amuri/Fa la nana, bambin (Sadero)

♦DA 5369 Si dondola/Trema l'onde (Sadero)

♦DA 5370 Fa la nana, bambin/Barcarola de la Marogona (Sadero)

♦DA 5406 Don Giovanni (La ci darem la mano)with A. Beuf (Mozart)/

Nozze di Figaro (Crudel! perche finora) (Mozart)

Electric - 12 inch Victor (H.M.V. numbers are starred?)

6614 Carnevale di Venezia - 2 parts (Benedict) *PB 1001

6611 Lucia di Lammermoor (Mad Scene) 2 parts (Donizetti) *DB 1015

6613 Lucia di Lammermoor (Regnava nel silenzio) (Donizetti)/

Figlia del Reggimento (Convien par tir) (Donizetti) *DB 1040
6933 Figlia del Reggimento (La richezza ad il grade)/

(Lo dice osrnun) (Donizetti) *DB 1153
♦DB 1315 Lo, here the gentle lark ( Blshop)/Maori lullaby . „

7731 Pescatori di Perle (Siccome un die) (Brahma, gran) ( Bizet) ♦DB 1316
7198 La Sonnambula (Ah, non credea mirarti) (Bellini)/

Falstaf f (Sul fil d*un soffio etesio) (Verdi ) *DB 1317
♦DB 1318 Linda di Chamounix (0 luce di quest* anima) (Donizetti)/

Mignon (lo son Titania) (Thomas)

♦DB 1319 Ninna nanna/Reaentor in famigia (Bianchini).

♦DB 3134 Rigoletto (Lassu in cielo)with Montesanto( Verdi)/

Traviata (Ah.* fors e lui) (Verdi)

♦DB 2135 Norma (C& 3 ta Diva) (Bellini)/

Barbiere di Siviglia (Dunque io son)with Montesanto(Rossini)

♦DB 5396 Lodoletta (Flammen perdonami) (Mascagni)/

Don Pasquale (Ouel guardo il cavalier ) (Donizetti)

♦DB 3395 Norma (Casta Diva) (Bellini)/

La Sonnambula (Ah non credea mirarti) ( Bellini)

(alternative coupling of 7198 and ♦DB 3195)

7730 Linda da Chamounix (0 luce di quest*anima (Donizetti)/

Redentor in famegia (Bianchini)

(alternative coupling of DB 1318 and 1319 issued in Europe;

Complete recording of Madama Butterfly: (Puccini)

Toti dal Monte, Soprano; Vittori Palombini and Maria Huder, Mezzo — sop.;
Ben;) amino Gigli ana Adelio Zagonara, Tenors; Mario Basiola, Baritone, and
Gino Conti and Ernesto Eominici, Basses, with Chorus and Orchestra of the
Royal Opera House, Rome, Oliviero de F^britiis, Conductor.

H.M.V. - Record Library Series 338 ( 78 ' s )

Man. DB 3859 - 3874 Auto. DB 8717 - 8733

Victor 33 l/3 long play - LCT 6006 (two 13-inch discs)

- /•

PRE RECORDED TAPE - FUTURE MUSIC MEDIUM?

Max Kaplan

The field of commercial Pre Recorded Tape has steadily grown larger in
the past four years to the extent where it has become a factor in the plan-
ning of recorded music for home libraries. The advantage of pre recorded
tape is that the fidelity of reproduction is unusually high and well bal-
anced; also that a larger and larger selection of these tapes are being: re-
leased to the market daily. In fact, the selection is becoming so large
that Harrison's Long Player monthly, long a bulwark of reference for Long
Playing record addicts, is coming out with a special monthly publication de-
voted to Pre Recorded Tape recordings exclusively.

However, the most serious drawback to the Pre Recorded Tape, and one that
must be overcome if quantity sales are to be realized, is the very high, al-
most fantastic prices of Pre Recorded Tape. A 7-inch reel of tape recorded
at inches per second costs from $5.00 to $8.00 per reel. One can buy a
blank reel of tape for $2.00 to $3.50 and make up their own musical reels.
It is hoped, for the sake of the recording firms, that their cost can come
down on pre recorded tape. Demonstration Tapes of the various brands are
much more reasonably priced. Omegatape in particular has put out startling
tapes of this kind that presage g,ood results from their studios.

An idea that has not yet been offered commercially* but is certain to be
used in the future, is a collection of popular songs or operatic selections
or just about anything on tape — but, again the factor of a reasonable price
must meet public acceptance.

The American Recordist Society, through demonstration and inclusion of
pre recorded tape selections on their broadcasts, has attempted to show the
public the advantage of this recording medium and hope to, in the future,
show the advantage of recorded tape even more so.

A word about Binaural Tape would be in order. While in New York recently
speaking to Michael Adrian, sales manager of the Concert Hall Society, he
stated that the Concert Hall Society was investigating the advisability of
a series of Binaural Tapes which, if released, would be a real innovation
inasmuch as there aren't too many Binaural Tape recorders in use compared
to the conventional type. Yet Mr. Adrian thought that Binaural Tape Record-
ers were a commercial certainty for the future and, though I was skeptical
of this belief, one must admit that ten years ago no one would have dreamed
of the growth of High Fidelity and its attendant equipment.

A series of radio programs in the fall compiled by the A.R.S. shall at-
tempt to show the public not only the types of music in the wo rid today, but
the sounds that make it appealing to the public. V?e record collectors must
recognize that the public is interested in tape and shall want to purchase
it pre recorded. There are now over two million tape recorders intheU.S.

with the rate of ua.a?e arrowing daily.

-PHONOGRAPHIA NNA-

THE MAGAZINE DEDICATED TO THE RECORD COLLECTOR AND MUSIC ENTHUSIAST

is published 6 times a year by George M. Meiser, president and Edwin Lotz,
editor from 623 North Front St, Reading, Penna. Subscription rate is $2.00
a year in U.S. and $3.00 in for eign countries .

(Dal Monte Discography-continued)

DMC 111

(DM- 700)

Vol. 1

17389 - 17394 (6

12”

78's)

CDM-701)

2

17395 - 17404 (10

12”

78's)

MC 111

{ U -700)

Vol. 1

17357 - 17362 (6

13”

78's)

( U -701)

2

17363 - 17372 (10

13”

78's)

( Victor numbers )
Auto, series)
YlcfcQX .number 8 )
Man. series)

"EDISON ORIGINALS"

*

*

It was my sincere pleasure to receive and play through a copy of the new
33 1/3 r.p.m. record released on the 78th anniversary of Thomas A. Edison's
patent on the phonograph. These recordings were originally made in 1910
and 1911 on twelve-inch discs under the personal supervision of Thomas A.
Edison, but were never released and have remained in storage in the archives
of the Edison Foundation at West Orange, New Jersey. As was typical, the
records were well recorded and compare favorably to releases of not too long
ago. The selection of singers is most interesting and, as Edison collect-
ors will note, neither Gilly or Galvany had any regular 10-inch D. D. 'sre-
leased. Ap pearing on the 10" L.P. is:

3ide one

"Ritorna vincitor" from Aida by Verdi - Carmen Melis
"Vissi d'arte" from Tosca by Puccini - Marie Rappold

By the time Maria Rappold first thought ol becoming a professional
singer, she was married and the mother of a young daughter. She had had
no musical training at all when, at the turn of the century, she joined
the German Arion Society, a Brooklyn choral group. Before long, she was
the prima donna of this club and had been persuaded to begin studies with
Oscar Saenger, a noted New York singing teacher. There followed in fast
succession a number of concert appearances and a contract with the Metro-
politan Opera, where she made her dubut on November 23, 1905. Rappold was
the first wholly American-trained singer to perform leading roles at the
Met, and she remained a valued member of the company for a decade and a
half. Among her admirers none was more enthusiastic than Thomas A. Edi-
son. At his request, she undertook several long tours of Edison Tone-Test
Recitals. Rappold, as an exclusive artist, enjoyed a long association
with the Edison Company, recording first for the two-minute cylinders up
to the latter days of the Diamond Disc.

Rappold 1 s deficiencies as an actress were said to have prevented her
from becoming an entirely satisfactory Tosca, but her histrionic lacks are
not reflected in this performance of the Act 11 aria, which is vocally
secure and musically idiomatic.

"0 lieto suol" from Les Huguenots by Meyerbeer - Lucette Korsoff
Side two

"Pace, pace, mio Dio" from La Forza del Destino by Verdi - C. Boninsegna
"Oh, il Signore, vi manda" from Cavalleria Rusticana by Mascagni - Destinn
(Emmy) and Dinh Gilly

"Ombro leg giera" from Pinorah by Meyerbeer - Maria Galvany

As an enthused recipent of this record, may I URGE you to send $3.50 to
Advertising Department, Voicewriter Divison, Thomas A. Edison, Inc., West
Orange, New Jersey. If this offering is a success (and it will be), there
may be more — and who wouldn't be interested in obtaining fresh Zenatello,
Hemple, Yaw, etc, material?

buane fc». Keakins of 1057~Paloma, § to c k ton, datif. IhsTs"! ust completed a
Comprehensive Cylinder Record Index of Edison Wax Amberols. . .all thedomes-
tic Amberols including the Grand Opera series, etc. are included. The work
•is neatly done, quite comprehensive, and certainly deserves aplace in every

collection. For more complete information, write to Mr. Deakins.

tick Pavis of 1458 Sof fel Ave. 7 ""Mon tone ^, CaiT#^. offers us another cata-
log which is an exact copy of a 1905 Edison machine catalog. This item is
printed on fine quality paper and is "beautiful to look upon." A must for

every noil action. — Prjjae,: — &1-50- , _ „ n T ,

NOTE : PHONOGRAPHIANNA'S NEW ADDRESS is 633 North Front Street, Reading,

Pennsylvania. Write in c/o Edwin Lotz. See last page bottom. Any mail
accidently sent to the old address will be forwarded.

3 .

George M. Meiser

Opera on EDISON

Edison’s domestic lists of Diamond Discs and cylinders had many great
artists represented that are today only names. Some of the more familiar
singers went on to Columbia, Victor, eto, , and some never recorded again,

I have chosen to list the singers according to the type of records they
made in order to give an idea approximately what era they were recording.
It is true that many of the singers in the Diamond Disc list also appeared
on the 4-minute Amberols (the 38100 and 39000 series), but most of the re-
cordings were dubbings — and poor ones at that.

Diamond Disc Artists
Ackte, Anio
Albright, Claudia
Alcock, Merle
Althouse, Paul
Anselmi, Gueseppe
Asselin, P. A.

Basiola, Mario
Bezazian, Torcum
Bonci, Alessandro
Boninsegna, Celestina
Bori, Lucrezia
Caronna, Ernesto
Case, Anna

Chais-Bonheur , Celine
Chalmers, Thomas
Ciccolini, Guido
Cowles, Eugene
De Castro, Consuelo E.
Be Cisneros, Eleanora
Belna, Marie
Del Valle, Loretto
Destinn, Emmy
De Treville, Yvonne
De Vere, Clementine
Dorrian, William
Duchene, Maria
Dufault, Paul
Fischer, Adelaide
Goritz, Otto
Guaneri, Fernando
Hamlin, George
Harrold, Orville
Hart, Charles
Heinrich, Julia
Helena, Edith
Hempel, Frieda
Hensel, Heinrich
Hollinshead, Redferne
Kaiser, Marie
Keyes, Margaret
Kimball, Agnas
Korsoff, Lucette
Labia, Maria
Langevin, Orphee
Laurenti, Mario
Lazzari, Carolina
Lazzari, Virgillio
Le Fontenay, Odette

Lindquest, Albert
Martinelli, Giovanni
Matzenauer, Margaret
Melis, Carmen
Middleton, Arthur
Miller, Christine
Miller, Reed
Morrisey, Marie
Mojica, JosA
Muzio, Claudia
Namara, Marguerite
Olitzka, Rosa
Parvis, Taurino
Polese, Giovanni
Power, Stella
Rappold, Marie
Reimers, Paul
Rio, Anita
Schumann , El i zabe th
Scott, Henri
Spencer, Elizabeth
Sundelius, Marie
Sylva, Marguerita
Teyte, Maggie
Tiffany, Marie
Urius, Jacques
Van Gordon, Cyrena
Vergeri, Emilia
Verlet, Alice
Why, T. Foster
Yaw, Ellen Beach
Zenatello, Giovanni
Easton, Florence
Errolle, Ralph
Ferrari-Fontana, Ed.

Cylinder Artists
Abott, Bessie
Agostinelli, Adelina
Albani, C.

Althouse, Paul
Ancona, Mario
Arral, Blanche
Begue, M.

Benedetti

Berti

Blass, Robert
Bonci, A.

4 .

Bori, L.

Burgstaller, Alois
Campanari, Giuseppe
Case, Anna
Cilia, Luigi
Constantino
De Cisneros, E.

De Gogorza, E.

Deusing, W. C.

Dippel, Andreas
Dubois, Gaston
Eginieff , F.

Farneti, Maria
Feinhals, F.

Ferrabini, Ester
Franceschini, Arturo
Galeffi, Carlo
Galvany, Maria
Garavaglia, Signorina
Giaconia, Guiseppini
Giorgini, Aristodema
Goritz, Otto
Guar ini, M.

Heim, Melitta
Helena, E.

Hinkle, F.

Huberdeau, Gustave
Jacoby, Josephine
Jorn, Karl
Knote, Heinrich
Kurz, Selma
Labia, Maria
Longone-White, C.

Lucenti, Luigi
Mann, Estella L.

Martin, Riccardo
Melis, Carmdn
Middleton, A.

Nucelly, Louis
Pintucci, Angiolo
Polese, Giovanni
Rappold, Maria
Resky, Gustave
Rio, Anita
Rcotti, A.

Slezak, Leo Van Rocy A.
Socrcer, W. Elv. Ventura

Sylva, M. Verlet, A,

* A. NUGENT, JR. - 13 NORTH THIRD STREET - RICHMOND 19, VIRGINIA

* 9i n ARNO MUSIC BOX PAPER ROLLS

* 7" "KALLIOPE” MUSIC BOX DISCS

* EDISON CONCERT TYPE PHONOGRAPHS

* BERLINER PHONOGRAPHS

* CYLINDER OR DISC RECORDS BY ANY ^ELL KNOWN PERSONALITIES such as Sophie
Tucker, Stella Mayhew, Irene Franklin, the Presidents, and others: also
National Forum Records, records by Cal Stewart (Uncle Josh),Harry Laudei;
and other records made by Berliner, Zonophone, etc.

* Catalogues of records, phonographs, magazines, etc. Monkey or Street
Organ, Hurdy Gurdy.

* Small Music Boxes of any make or type. Sears Organs, etc,

* Give full description of what you have to sell and YOUR price.

* I PERSONALLY REPAIR ANY MAKE OF PHONOGRAPH. I HAVE BEEN DOING MECHANICAL
WORK FOR THE PAST 48 years and can give you the best workmanship and in
most cases have many parts or can make them. I do not sell or repair by
oiling ana adjusting, I rebuild the machine entirely. I youwish to buy
a machine that is mechanically perfect (such as can be done on these old
models) or wish to have one reparied, let me hear from you. (Refinish-
" ing case is optional).

* PHONOGRAPHS. Old type Cylinder and Disc, reproducers, books, horns and
stands, etc. BOUGHT, SOLD, EXCHANGED.

* PHONOGRAPHS. Most any type Cylinder or Disc with outside horns.

* CATALOGUES AND BOOKS on phonographs and records.

* Cylinder and Disc records list issued every three months. Send 35£ for
either list.

* "REPRODUCTO" Pipe Organ. Weighs 1500 pounds crated. The market price
for this old organ now runs about $650.00. My price for this complete
(knocked down) $500.00.

* Edison Diamond Disc Reproducers - originals - $9.50 prepaid.

* I have many items that I buy and sell, such as: Circus and Carnival Lit

erature. Old View Cards, Auto License Plates, Old Hymn Books, Old Hand-
cuffs, Safe Instruction Books, Handbook Books, Locksmith Instruction Lit
erature. Wall Telephones, English Brass Door Lock Reproductions, Antique
Locks, Old De3k Telephones, Mechanical Bank Reproduction for only $3.50,
Silks and Blankets from Cigarettes, Old Keys, Williamsburg and Monti—
cello Large Brass Keys (Reproductions.)

* 8END STAMP FOR MY LARGE WANTED AND FOR SALE LIST and specify what items
you are interested in to buy or sell so I can give you full information
on that or those particular items.

WANTED TO BUY

FOR SALE

(In business since 1934 and
rated in Dun & Bradstreets. )

S

RECORDS THAT NEVER TURN UP

by

Jim Walsh

Anybody who has spent years collecting records must be both impressed
and annoyed by the way certain discs or cylinders he wants never seem to
turn up, regardless of the searcher’s almost frenzied efforts to find them

For months I have been advertising that I will pay $5. each for two nine
inch, single-faced Zon-o-phone records - "Jenny Lee," a Harry Von Tilzer
song recorded by the mysterious Atwood Twitchell, and another Von Tilzer
number, "Chocolate Drops,” by Fred Hager's Orchestra. My parents had own-
ed copies of these records, and I still have them, but both are so badly
cracked they can’t be played. I want to replace them, but so far my ad-
vertising hasn't brought a nibble.

I am no longer actively collecting records, largely because I do not
have time to play them (working in a noisy radio-tv station newsroom also
makes me long to live in a vacuum when I come home.'), but I do have a long-
ing to acquire all the 30-odd double-faced sapphire ball records one of my
favorite comedians, the late Gene Greene, made for Pathi in 1912 and 1913.
The recording was done in London and the records were mostly sold abroad,
b:t they were imported into this country for a year or two, then dropped
from the Pathi cataloo*. In spite of my best efforts, I haven't been able
to find one, though Greene's Victors and Columbias turn up easily enough.

How many collectors, I wonder, have succeeded in finding the solos and
duets Bert Williams and George Walker sang for Victor in 1901? None have
come my way.

Another 1901 Victor I'd like to have for novelty's 3 ake is f, Vauaevilla
Medley,” by the Xylophonist, Charles P, Lowe, and "Miss Jottie," whoever
she may have been. It is said to include a xylphone solo, a German folk
song, and a drum solo. Truly an intriguing combination - but who has it
or has seen it?

Has anybody run across the 1903 Victor records by the Paloraa Quartet-
pro bably the first women's ensemble to be recorded? The numbers are 1887
and 1889, and the titles "La Paloma" and "Medley of Popular Songs.” The
latter sounds especially interesting. The catalog descriptions waid they
didn't have a great deal of volume but were successful recordings of the
female voice. But to this day I have never laid eyes on anything by the
Paloma Quartet.

Of a little later date, how about the series of 12 seven— inch records
by an Iroquoi3 Indian, Ho-nu-ses? A number of universities were said to
have acquired t^ese records of traditional Red Man music, to be preserved
in their departments of anthropolgy, but the ordinary record collector
seems to have no luck finding them.

As a long time admirer and friend of the late Billy Murray, I'd be de-
lighted to find some of his earliest Victors — those around 1903 and 1904,
but they elude me. I'd specially like to get 2048, "Absinthe Frappe," —
a dealer's demonstration disc not intended for general sale. Otherson my
want list are 2452, "I Never Could Love Like That:" 2467, "Thinking of You
All de While;" 2438, "When We Were Tw 0 Little Boys."

Among Edison Diamond Discs, the Murrays I haven't found so far were made
in 1928 or '29 - "Goodness Gracious, Gracie, ” "Don ' t Be Like That"and "Do-
n't Do That to the Poor Puss Cat."

This sort of recapitulation could go on and on, but there is no need to
labor the point. I'm sure every other case-hardened record collector can
tell equally touching stories of that rare Red Seal, that scarce jazz item
or that elusive pop tune he simply is unable to find. But sometimes, on a
wonderful day, the unfindable is found— -usually under the most unexpected
c i rcum stances— —and , after all, isn't that what puts most of the zest into
collecting?

Cr

BY

TOM KAUFMAN

THE HMV 034000 SERIES OF FRENCH VOCAL ENSEMBLES

This list has been chosen because only a small part of it duplicates
previously published information, and because it offers an unusually in-
teresting repertoire.

All are sung in French tho' Italian titles appear on some labels.

Matrix numbers have been Included where known. Anybody having additio-
nal information re: titles and/or matrix numbers missing from this list
is invited to correspond with Mr. Tom Kaufman % 11 Phono graphi anna” .

R- Red Seal, V- of Victor origin, ?- the record exists but only the #
for the first part of the ensemble is given in the catalogs consulted.
There is ample reason to believe -but no proof- that the w is correct.

The first Installment follows:

034000 VR de Gogorza-Eames: Crucifix (Faure)

01 VR Dalmore s-Journet : Carmen- Je suis Escamillo (Bizet)

02 VR ” ” : Faust- A moi les plaisirs (Gounod)

03

04

05

06 Beyle-Williams: Faust- Laissez moi (Gounod;

07 ” ” : ” - 0 nuit d* amour (Gounod)

08

09

10

11 Dufranne-Williams: Faust- Scene de l'eglise (Gounod)

12

13

14 Melba-Gllbert : Un ange est venu (Bemberg)

15 Dalmore s-Eame s- PI ancon : Faust- Final Trio (Gounod)

16 Beyle-Dufranne-Korsoff-Clug: Rigoletto Quartet (Verdi)

17 Beyle-Duf ranne : Reine de Chypre-Triste exile (Halevy) SOSSJ

18 Korsoff-Vigneau: Barbiere de S.- Dunque io son (Rossini) \5oio<J

19 VR de Gogorza-Sembrich: Hamlet- Dout de la lumieres (Thomas)

20 Vallandri-Rocca: Lakme- C'est le Dieu de la Jeunesse (Bizet)

21 Vail andri-Duf ranne : Manon- Parden mais j’etais la (Massenet)

22

23 VR Dalmore s-Calve: Carmen- La bas dans la montagne (Bizet)

24 Rocca-d 1 Assy : Faust- Mais ce Dieu .... (Gounod)

25 ” ” : ” - A moi des plaisirs (Gounod)

26 VR Eames-Horoer: Lakme- Sous le dame epais (Delibes)

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

Korsoff-Danges: Trovatore- Mira dl acerbe (Verdi)

Mont alant-d y Assy : Faust- Scene de l'eglise I (Gounod)

" ” : ” - ” ” W II (Gounod)

d 1 Assy-Bougassol-Bakker : Huguenots- Benediction des polgnards 08QS*J
Beyle-B akker : Cld- A St. Jacques (Massenet) C8£i V (Meyerbeer)
Beyle-Bougassol : Cid- Priere de St. Jacques (Massenet) 08f>3 V
Regl s-d' Assy : Chalet- II faut me ceder (Adam)

Beyle-Vallandri : Carmen- Parle-moi de ma mere (Bizet)

Regi s-d 1 Assy : Chalet- Dans ce bol s de sapins (Adam)

Beyle -Brohly : Werther- Vous avez dit vrai (Massenet)

” ” : ” - Oui c'est moi (Massenet)

” ” : Carmen- Je vais danser en votre honneur (Bizet)

” ” : ” - Non, tu ne m'almes pas (Bizet)

” ” : Werther- II faut nous separer (Massenet)

Beyle-Korsoff : Romeo- 0 nuit divine (Gounod)

THE HMV
034046

47

48

49

50

51

52

53

54

55

56

57

58

59

60
61
62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80
81
82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99
100
101
102
103

Bejrle-de Montalant

034000 SERIES CONTINUED

Beyle -Korsof f : Romeo- Ah! ne fuis pas encore! (Gounod)

Bakker-Dupouy : Pre aux Cleres- Le Rendezvous (Her old)

Beyle-Lyndsay : Mireille- 0 Magali (Gounod)

" 11 : ,f Foi de son flambeau (Gounod)

Brohly-Vigneau : Henry VIII- Chere Anne que J* adore ( Saint-Saens)

,f : " 11 - La relne alors n'est plus ( " - " )

Bakkers-Dupouy : Francois les Bas- Bleus Esperance end r heureux

Jours (Messager)

Beyle-Vallandri : Manor- Ah! Des Grieux Pt I (Massenet)

" 11 : 11 11 11 11 Pt II (Massenet)

Beyle-Brohly-Bakkers-Dupouy : Martha- Goodnight Qt. (Flotow)

" 11 11 11 s 11 Spinning Wheel Qt. (Flotow)

Beyle-Danges: Damnation of Faust- Helas doux chants (Berlioz)

Beyle: Damnation of Faust- Grand dieu que vois Je (Berlioz)
Granal-Lyndsay : Sigurd- Des presents de Gunther (Reyer)

Beyle-Sylvain: Favorita- Non sai tu (Donizetti) O/Soov
Lyndsay-Danges : Thais- Te Souvient-11 (Mort de Thai s) (Massenet)

- Balgne d'eaux (Massenet)

Herodlade- Duo du souterrain Pt I(Massenst)

11 - ,f H 11 Pt II (Massenet)

M - Jean Je te revols (Massenet) 0/S38 • '/

11 - Pour moi tout autre est le destin

Granal-Carlyle : Aida- 0 terra addio (Verdi) (Massenet) Ci53<?\'

Brohly-Bakker s : Werther- Bonjour grande sueur (Massenet)

Brohly-Beyle : Werther- N* achevez-pas! (Massenet)

Korsof f-Danges : Hamlet- Doute de la lumiere (Thomas)

Brohly-Bakker s : Werther- Va! laisse-les couler (Massenet)
Bakkers-Dupouy: Dragons des Villars- Allons! ma chere (Maillart)
Journet-Rocca-Bakkers: Romeo- Dieu qui fis l'homme (Gounod)
Journet-Dupouy : Favorita- Anatheme de Balthazar (Donizetti)
Beyle-Brohly : Carmen- C'est toi? C'est moi (Bizet) Oil 58V
11 : 11 - Mais moi Carmen (Bizet) 01/59 V

n : Mignon- Je suis heureuse (Thomas)

Bakkers-Brohly : Lakme- Sous le dame epais (Delibes)

11 M : Roi d'Ys- En silence pourquoi souffrir (Lalo)

Granal-Carlyle: Aida- La fatal pietra (Verdi)

Beyle-Brohly: Favorita- Vois mes pleurs (Donizetti) 0/563 V

Tl 11 : Dragons de Villars- Eh bien Sylvain (Maillart) O/S&j-v

Beyle-Fer: Manon- Duo de St. Sulpice II (Massenet)
Granal-Brohly-Narcon: Samson et Dalila- Je viens celebrer la
Beyle-Fer: Manon- Toi vous (Massenet) victoire (Saint-Saens)
Dupouy-Bakkers : Werther- Albert toi de retour (Massenet)

Dupouy-Brohly ; Werther- Sous les tilleuts (Massenet)
Beyle-Heilbronner; Faust- Cul c f est toi (Gounod) 0/8/6 1/

* 11 : ,f Divine purete (Gounod) // Or8/lv

Beyle-Heilbronner-Payan: Faust- Le lour va luire.... (Gounod ) H 0/8/8V
Beyle-Bakkers: Faust- Waltz (Gounod) 0/8^0 1/

Brohly-Dupouy

ii ti

Hamlet- Ah que votre ame (Thomas)

. M - ma douleur est immense (Thomas)

Regis-Bakkers: La Dame Blanche- Cette main si Jolie (Boieldieu) 0/6O3V

Beyle-Brohly: Tosca- Perche chiuso (Puccini)

,f : 11 - Ah! quegli acchi (Puccini)

8 .

SIDNEY BECHET ENCOUNTERS "THE ROUNDTABLE

Bill Stamm

"Pops" Bechet had just finished a set on Ryan's bandstand and was stroll-
ing toward the rear bar where a small group of avid devotees were seated
(and in this case, "glued" for the whole evening). Maybe between sets he
would rather have headed for the quiet interior of the downstair musicians
locker room or Reilly's saloon across the street, but the trio of the rather
strange, young jazz fans usually somehow drew his attention. Sidney was
particulary interested in one of them, Joe Cooper, a lad who to everyone's
knowledge, existed on just traditional jazz, bourbon, and a healthy trust
fund. He had roved around Paris for awhile with his usual "habits on" in
left bank bistros, bought all the French jazz discs available and also won
the attention of a young local girl. Bechet and Joe hit it off rightwell
in their discussions of the first love - Paris. Another hanger-on was a
lad named Greg who, when struck with the fancy to work, sold records for
Columbia as a salesman. More than once he was known to have attempted to
argue a dealer into ordering large numbers of the reissue jazz series on
the Columbia label although as both he and the dealer knew, the shop never
had a call for one Armstrong or Condon disc all year. Greg's "in" with
Bechet seemed to be their interest in promoting Sidney's new album, a pro-
ject that Greg took to heart as if he were expecting royalties too.

How I ever found my way into that circle I can't really say for sure. I
recall, though, some months prior when I first started to make Ryan' s house
of jazz my second home. Joe, Greg, and I first met at the bar in a liter-
ary way. I carried that night, under my arm, a copy of "The House of Seven
Gables." They both commented, as if on cue, what a "Boring" tome it is in
their opinion. Since I had bought it that same day, I only listened while
Hawthorne took a verbal beating. We three chatted on through the evening
and there afterwards each evening the "roundtable" would congregate at the
rear of Ryan's place. I recall now, thinking baok to those rather oare -
free days, how affable Sid Bechet was and how many, many subjects were
kicked around among all of us. Everything from the sudden popularity of
jazz (Pee Wee Hunt or someone had just murdered the old " 13 th St. Rag" and
sold a million records.') to the high cost of drinks in Harry's New York
Bar in that before mentioned "haven" of Paree. On subjects such as the
latter, I just kept still and made mental notes so if I should ever travel
the Atlantic, I'd be "hep.'"

These nightly yakking and drinking sessions went on for a year or so
until the inevitable parting of the ways came. Joe, who was corresponding
regularly with his Parisian miss, packed up his record collection, clean
shirts, etc., and boarded the first boat from the CunardLine towardEurope
and that town of Paris. His parting words, spoken over a farewell scotch,

were "See you at Harry's New York Bar soon, maybe." That "maybe" hasn't

come true although I have no doubt that He's sitting in that bar this very
day. Number two man, big Greg, departed at about the same time. He vol-
unteered for a hitch with the Marine Corps after failing in his effort to
"sell" via discs and much chatter, the legends of Morton, Bechet, Bessie
Smith, and Leadbelly to the majority of local music shop dealers.

It must really have been the "moving" time of the year as even our fa-
vorite bartender. Jack Stanley, left for another more lucrative position
in an east side supper club.

Guess after that I looked like a lonesome "cat" as Bechet, too, called
it quits and left lock, stock, and soprano sax for Paris, a place he has
yet to return from except, so I read, for a short visit a couple of years

back. The joint didn't hold the same magic formula for me anymore, so I

started into a "stay at home and collect records" routine like never be-
fore. I'm still at it.

9 -

JOLSON ON WAX

Dick Bonesteel

One of the most interesting areas of speculation is that of A1 Jolson' s
Little Wonder records. The April 1955 issue of the Record Research pre-
sented "An Introduction to the Department Store Labels" which pointed out
that "during the pioneering years of the record industry, the department
store moguls, seeking new ways to increase the popularity of their stores
discovered the publicity value of the phonograph record. Negotiationswere
entered into the leasing of matrixes and once agreements were made, they
proceeded to have their own records pressed with the name of the depart -
ment store prominently printed on the label. About 1914 the F. W. Wool-
worth Five and Dime Stores released the Little Wonder Record which was
priced at ten cents. This was a black five and one-half inch disc with
bold black print pressed into the center of the record. This label had
been generally believed to contain abbreviated versions of Columbia press-
ings... yet during an exclusive interview with the prolific recording art-
ist, Wilbur Sweatman, he remembered making records for the Little Wonder
Company in 1919.

The May 1953 Coronet presented an article entitled "Treasure in Old Re- *
cords" by Harry Kursh which announced, "A few years ago (Jacob S. ) Sch-
neider got a visitor who was looking for records he had made as a youth.
They were five-inch discs called "Little Wonder Records" and the songs were
described on the label only as "sung by a baritone." Schneider found them
in a New York junk shop, recognized the voice, and filed them under the
singer's real name. That's why Schneider was one of the last to see A1
Jolson alive in 1950. Jolson made three trips to Schneider's office and
was able to pick up four of the "Little Wonder" discs that he had made in
1919 and had been unable to get.

I asked Mr. Schneider about this and on April 5, 1955 he wrote me, "For
the world of me I can't recall whether Jolson picked up four copies of one
record or four different records. I know he looked through myLittle Won-
der records of which I had about 350, and he pioked out those four. I was
so impressed by his personality that I didn't pay much attention to the
records he picked. Like yourself the only one I know of is "Back to the
Carolina You Love."

In the August 1955 issue of "Tops" Joe Franklin offered $1,000 for a
Little Wonder made by Al in 1909. He doesn't give the title. I wrote Mr.
Franklin for information about this but was not favored with a reply. How-
ever, I do know that Little Wonder number 3 is a band record of "Get Out
and Get Under" which Al introduced in "La Belle Paree" in 1911. This means
that it would have to be Little Wonder number 1 and Little Wonder number I
is not by Jolson but is Henry Burr singing "Ben Bolt" dubbed from Columbia
317.

Since the Little Wonder records do not disclose the name of the artist;
rumors concerning other Jolson Little Wonders are continually cropping up.
One of the brightest prospects was a Little Wonder #547 recording of "Yaa-
kie Kaadie Kiddie Kaadie Koo." This was supposed to be a duet by Al with
his brother Harry. However, Larry Kiner talked with Harry's with in 1953,
and she said that Harry NEVER made a duet with al that was released com-
mercially. In fact, the only commercial recording by Harry Jolson is the
Souvenir #101 on which he renders "One More Song" — a eulogy to his brother
Al. This is available through the Jolsonairs. Other rumors which have
been proved not by Jolson include LW 369, "Where Did Robinson Crusoe Go
With Friday On Saturday Night;" LW 575, "Where The Black-Eyed Susans Grow f

and LW 1440, w 0-H-I-0 (0 !-My!-0'. ) . "

^OIN THE JOLS'O'fflT^RS" - $1.35 dues per year. Contact Lick Bonesteel.

(Jolson On Wax - continued)

Therefore, the only Jolson Little Wonder thatwe know of for sure is LW
30, "Back to the Carolina You Love" which was dubbed directly from the Col-
umbia master of CO A1631 (matrix number 39567) and recorded on September
30, 1914. However, we don't know what the master number of LW 30 is or if
it has variable masters. If YOU have both LW 30 and CO 1631 in your col-
lection would you please compare them and clear this up for us? Note that

CO A1631 has two masters: 1 and 8.

My record has 30-1 scratched in the wax, and it is possible that the 1
is the master number. Also the numbers 15, 116, 119, 144, 146, and 383
were reported as pressed on these records. It might be that each copy of
the disc was individually numbered.

Corrections and additions to this article will be appreciated. Please

write directly to me at 1409 McGilvra Blvd., Seattle 3, Washington. Any

information received will be presented in the next issue. In conclusion,

I would like to thank the members of The Jolsonairs Memorial Club for their
assistance in the preparation of this article.

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AUCTION SALES: Rare and cut-out

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